2019 Workshops

View past Book Arts Program workshops

Relicensure points for educators are available from the Utah State Board of Education for all workshops. For more information: Email or call 801-585-6019.   

December

printappreciation on press

Annual PRINTappreciation + Booking-a-Brouhaha Opening Reception

December 13 
Friday, 3:00–7:00 pm

Free and open to the public—just drop by!

Join the Book Arts Program for a double celebration of our annual PRINTappreciation and the opening reception for the Booking a Brouhaha exhibition! In the gallery, check out the amazing work from students in the fall 2019 book arts courses. In the printshop, print from a variety of printing plates and type locked-up on the presses to produce a free letterpress printed card. Additional cards are three for $10. Enjoy light refreshments and shop for some hand-printed goods for those on your holiday list. Proceeds help support the Book Arts Program. Can't wait to see you there!

2020 WORKSHOPS

February

image of valentines

Valenteenies: Love Notes and Calling Cards
Amy Thompson

February 8
Saturday, 1:00–5:00 pm

$65
register

Well before the advent of text messaging, the Victorians announced their presence with tasteful calling cards and passed discrete slips of paper to arrange amorous liaisons. Participants in this lively half-day workshop combine antique dingbats, elegant zinc cuts, and moveable type from the program’s collection to craft miniscule missives and petite prints. Students choose from a selection of phrases preset in metal type, set brief original messages of their own, or set their names in the manner of the traditional calling card, then letterpress print their designs on the studio’s clamshell presses. Beginners are entreated to attend this delightful printing excursion, as are more accomplished printers.

Amy Thompson's bio


image of risograph book

Risograph Training

February 15
Session 1: Saturday, 10:00–11:30 am
Session 2: Saturday, 12:30–2:00 pm

$15

What is a RISO duplicator, and why is it suddenly all the rage? The RISO is a Japanese stencil duplicator that blends the functionality of photocopying with the artistry of screenprinting. In this training, participants learn the requisite skills and best practices for risograph printing by printing a previously designed project. After completing the training, participants are invited to apply for independent studio use here, and for a fee of $5/half hour, approved applicants are eligible to use the RISO for their own projects.

itinerant printer image

Itinerant Printer Collaborative Print Session
Chris Fritton

February 28
Friday, 4:00–7:00 pm

Free

The Itinerant Printer visits letterpress print shops across America, producing unique prints at each venue, culled from their idiosyncratic collections of wood type, metal type, cuts, ornaments, and polymer plates. This continuing project (2015-present) intends to capture the spirit of the analog revival, send real samples of it into people’s mailboxes, and convey the ethos of the handmade to a broader audience via social media. It is about an exchange of ideas, of techniques, of information, of style, and of the consummation of all those things: prints. Join the Itinerant Printer for a brief presentation followed by a collaborative print experience during his visit to the Book Arts Studio. For more information about the project: www.itinerantprinter.com

March

image of gold leaf

Illuminated Pages: Gold Leaf Techniques
Louona Tanner

March 18 – April 15
Wednesdays, 5:30–8:30 pm

$260
*register through continue.utah.edu/lifelong

Want to add some bling to bookwork or works on paper? Join us for a five-week survey of historic and contemporary gold leaf techniques. Through five small projects, participants gain experience with different illumination methods and are exposed to a variety of approaches, products, and papers. The course includes an introduction to the lettering arts, in-depth demonstrations, and plenty of hands-on practice with gold application. Leave the course with lots of sparkle and ideas to add more to future work!
– – – – –
Louona Tanner is a Utah calligrapher and book artist. She graduated from Weber State University in Art, and was nominated for both woman of the year and talent of the year. She served twice as president of the Utah Calligraphic Artists’ Association (UCA) and has exhibited her work throughout Utah and at national calligraphy conventions. She has taught calligraphy, gold leaf, and book arts classes for UCA, Utah Museum of Fine Arts, Utah Humanities Council, Great Salt Lake Book Festival, YouthCity Artways, The Leonardo, and the Book Arts Program. Louona currently teaches calligraphy at Salt Lake Community College.


image of handmade books and boxes

Intro to Book Arts Processes & Practice
Annie Boyer & Crane Giamo

March 28
Saturday, 1:00–5:00 pm

$55
register

Ever wonder about the processes and techniques that lead to the final product of an artist’s book? During this brief, hands-on opportunity, explore several facets of book arts: papermaking, paper decorating, bookmaking, and letterpress printing. This workshop is a great opportunity to experience a sampling of activities and consider interests for further exploration. All materials are provided and all levels welcome.

Annie Boyer's bio
Crane Giamo's bio

April

image of custom bookcloth

Creating Custom Book Cloth
Emily Tipps

April 11
Saturday, 1:00–5:00 pm

$50
register

Fabric offers an attractive and durable solution for covering boxes and book covers, but ready-made bookcloth presents a limited palette of mostly solid colors and humdrum textures. Don't get hemmed in by run-of-the-mill choices! Instead, back textiles with Japanese paper for use as bookcloth. Want to cover an artist's book with calico from grandma's apron? Think art-deco-printed percale would make a swell cover for a next blank journal? Would sleek silk be an elegant solution for that photo album? In this workshop, participants expand their ability to tailor bookwork by learning to back natural-fiber fabric with simple materials and easy-to-access tools.

Emily TIpps's bio

May

image of mokuhanga print

Mokuhanga:Water-based Woodblock Printing
Katie Baldwin

May 8 & 9 
Friday & Saturday, 10:00 am–5:00 pm

$200
register

Learn how to achieve multiple colors in a woodblock image with perfect registration through the traditional technique of Japanese woodblock printing. This workshop is an introduction to the printing process mokuhanga, which uses water-based pigments (or sumi ink), a kento registration method, and hand printing with a baren. Instruction covers tools, materials, the carving sequence, and printing methods associated with this process. All participants have the opportunity to carve and print a two-color image. One of the wonderful aspects of this process is that it does not require a press, or a large workspace!
– – – – –
Katie Baldwin is a printmaker and book artist living in Huntsville, AL. She has traveled internationally as an artist in residence. She was one of seven international artists selected in 2004 to learn traditional Japanese woodblock printing (mokuhanga) from master carvers and printers at the Nagasawa Residency on Awaji Island, Japan. She returned to Japan in 2017 and 2019 for the Mi-Lab Advanced and Upper Advanced Residency in Kawaguchi. Under her imprint, Queen Anne’s Revenge Press, Baldwin produces artist’s books and woodblock prints. She has exhibited extensively and her work can be found in numerous collections. Baldwin received her MFA in book arts and printmaking from the University of the Arts in Philadelphia. She served as the Victor Hammer Fellow at Wells College from 2011–2013 and is currently the Common Press Artist-in-Residence at the University of Pennsylvania. She is an Associate Professor at the University of Alabama Huntsville, where she teaches book arts and printmaking.

image of book repair tools and materials

Simple Book Repairs for At-home Curators
Emiline Twitchell

May 12-June 9 
Tuesdays, 5:30–8:30 pm

$245
*registration coming soon! 

This five-week course explores methods of book and paper repair for aspiring conservators. Students learn about the ethics of conservation and gain familiarity with appropriate conservation tools and materials. Class discussions help inform how best to assess, document, and perform treatment plans for book and paper materials in need of a little extra love. Students leave with a minimum of two treatments, a basic book repair kit, and foundational knowledge to complete simple repairs at home.
– – – – –
Emiline Twitchell has worked as a conservator of book, paper, and photographic materials for the Church History Library in downtown Salt Lake City since 2015. Prior to her conservation career, she spent five years as staff of the Book Arts Program and Red Butte Press in a variety of roles including exhibition coordination, community outreach, binding, and printing. Emiline serves as Exhibitions Chair for the Halophyte Collective and as Co-Chair for the Rocky Mountain Chapter of the Guild of Book Workers. Her work has been exhibited and is held in collections nationally. When she’s not got her hands full of paper, Emiline enjoys planting too many tomatoes in the backyard garden and spending time with her cat.


image of handmade books

A Book in Two Days
Marnie Powers-Torrey & Emily Tipps

May 22 & 23
Friday & Saturday, 10:00 am–6:00 pm

$200
register

Whether new to bookmaking and letterpress or a more seasoned practitioner, join us for two intensive days of creative productivity. Each participant develops, designs, and produces a limited-edition artists’ book, choosing from several provided structural options. Each structural template allows single-sheet printing which will enable multiple runs on multiple pages in record time. Focus is on response to process and requires a fluidity in thinking and making. Instructors guide participants through ideation, typesetting, image development, simple matrix making, printing, and folding or binding. The letterpress edition is completed during the fast-paced workshop, and the binding is completed at home once the prints are dry. Participants leave with a stack of prints, instructions and a mock-up for binding, and a copy of each participant’s artist book!

Marnie Powers-Torrey's bio
Emily TIpps's bio

June

image of risograph printed book

Responsive + Interpretive Narratives on the Risograph
Tricia Treacy

June 5 & 6
Friday & Saturday, 10:00 am–5:00 pm

$190
register

In this workshop, participants experience accelerated collaborations through brief, brainstorming sessions and use of the Risograph as a generative tool for making. The ideation process begins with interpreting a story from audio samples and continues with prompts that allow participants to accidentally recreate/rethink/mash-up stories. These audio stories and a shared reserve of found images serve as catalysts for small groups to visualize an intersection of the narratives and develop two-page spreads for inclusion in the collective booklet. Each participant leaves with a copy or two of the editioned bookwork and the skills to print on the spectacular Risograph.
– – – – –
Tricia Treacy’s practice is collaborative and often a hybrid of two mediums with a priority towards text-based media, artist books, printing, and publishing. Processes of exploration, collaboration, and affinity with unique methods and protocols, and/or no methods and protocols can be the content or the catalyst of her practice. Tricia has presented creative research at venues including Atypi (Hong Kong + Barcelona), the Type Directors Club in New York, Tasmeen biennial Art + Design conference (Doha, Qatar) and TypeCon national conferences. She has been awarded fellowships/grants from the American Academy in Rome, DesignInquiry and the Center for Craft, Creativity and Design. Tricia is an Associate Professor of Graphic Design at Appalachian State University in Boone, NC and received her MFA in Printmaking / Book Arts from The University of the Arts in Philadelphia.


image montage of bookbinding techniques

Fast Forward: Bookbinding Basics
Karen Hanmer

June 24 & 25
Wednesday & Thursday, 10:00 am–5:00 pm

$200
register

A handsome, functional book is built on a solid foundation of traditional forwarding skills. In this two-day workshop, participants learn or reinforce these skills by going through all the steps of crafting a traditional binding prior to covering. Participants fold, mark up, and punch signatures; select and attach endsheets; sew on a simple, homemade sewing frame; glue up and round the spine; lightly back the text block; sew endbands; line the spine; and anchor the text block into a folded, paper case. Instruction covers choosing appropriate materials for support and unencumbered opening. All skill levels are welcome.
– – – – –
Karen Hanmer’s artist-made books are physical manifestations of personal essays intertwining history, culture, politics, science and technology. She utilizes both traditional and contemporary book structures, and the work is often playful in content or format. Her Glenview, Illinois studio practice is unusually varied, including small editions of artists’ books, larger editions of inexpensive multiples, bookbinding instructional materials, and one-of-a-kind design bindings. One of only ten graduates of the American Academy of Bookbinding’s Fine Binding program, Hanmer has studied with many notable binders. Hanmer’s work is included in over two hundred collections, ranging from Tate Britain and the Library of Congress to Yale University and Graceland. An acknowledged leader in the book arts community, she served on the editorial board of The Bonefolder, the peer-reviewed online book arts journal, and is a reviewer for the Guild of Book Workers Journal. Hanmer curated Marking Time, a triennial exhibition sponsored by the Guild of Book Workers. She offers workshops and private instruction focusing on a solid foundation in basic binding skills.


image of book spine

The Springback Binding & Leather Basics
Karen Hanmer

June 26 & 27
Friday & Saturday10:00 am–5:00 pm

$215
register

With its enthusiastic opening, the nineteenth century springback binding is ideal for journals, guest books, sketch books, or any application where it is desirable that the book open flat (and then some). The book opens and closes with a satisfying jolt and features two-part split boards, reinforced endsheets, and a spring made of layers of card and paper. With its robust aesthetic, the springback is a great structure for beginning leather work. The paring requires minimal finesse, and the modest leather headcap is easy to form. Pre-requisite for the course is a basic bookbinding course or the Fast Forward: Bookbinding Basics workshop.
– – – – –
Karen Hanmer’s artist-made books are physical manifestations of personal essays intertwining history, culture, politics, science and technology. She utilizes both traditional and contemporary book structures, and the work is often playful in content or format. Her Glenview, Illinois studio practice is unusually varied, including small editions of artists’ books, larger editions of inexpensive multiples, bookbinding instructional materials, and one-of-a-kind design bindings. One of only ten graduates of the American Academy of Bookbinding’s Fine Binding program, Hanmer has studied with many notable binders. Hanmer’s work is included in over two hundred collections, ranging from Tate Britain and the Library of Congress to Yale University and Graceland. An acknowledged leader in the book arts community, she served on the editorial board of The Bonefolder, the peer-reviewed online book arts journal, and is a reviewer for the Guild of Book Workers Journal. Hanmer curated Marking Time, a triennial exhibition sponsored by the Guild of Book Workers. She offers workshops and private instruction focusing on a solid foundation in basic binding skills.

July

image of simple accordion book

The Book Artist as Naturalist
Rebecca Chamlee

July 10 & 11
Friday & Saturday, 10:00 am–5:00 pm

$200
register

For centuries, scientists, naturalists, and artists have preserved the ephemeral beauty of nature by printing directly from forms found in the natural world. This two-day workshop explores the botanical contact-printing process (eco-printing) to create images on paper with fresh and pressed plant materials. The first day, participants learn botanical contact-printing immersion techniques using dye baths on assorted paper. On the second day, the prints are used to create four non-adhesive books – a simple Jacob’s Ladder, two hybrid accordion structures, and a long-stitch binding – all filled with rich visual content.
– – – – –
Rebecca Chamlee is a self-taught naturalist and book artist who has published letterpress printed, limited-edition fine press and artist’s books under the imprint of Pie In The Sky Press since 1986. Her award-winning work is in prominent special and private collections throughout the U.S. and has been exhibited widely. Rebecca is an associate professor at Otis College of Art and Design in Los Angeles where she teaches bookbinding, letterpress printing, and artists’ book classes and heads the Book Arts Minor program. She also holds workshops at her studio and book arts centers throughout the country.


Annual Educators’ Intensive
Annie Boyer & Jazmin Gallegos

July 14 & 15
Tuesday & Wednesday, 9:00 am–4:00 pm

*details and registration coming soon

Annie Boyer's bio
Jazmin Gallegos's bio


image of type and print on iron handpress

The Iron Handpress & Finer Points of Impression
Marnie Powers-Torrey

July 31 & August 1
Friday, 10:00 am–6:00 pm; Saturday,12:00–6:00 pm

$200
register

We’ll investigate theory through practice as we enact the legacy of lockups with metal type on the Columbian handpress and found objects (collagraphs) on Vandercook cylinder presses. Mixing ink with traditional and experimental techniques, the group will produce a pamphlet that offers some post-millennial perspective on the power of the platen and the playful potential of the cylinder press. Bring an apron and a willingness to work and play hard! All levels are welcome.

Marnie Powers-Torrey's bio

August

image of clamshell box

The Clamshell Box: A Safe Place for Books
Emily Tipps

August 15
Saturday, 12:00–6:00 pm

$50
register

When not being read, a book really just wants to be left alone in a safe place. The clamshell box is an ideal enclosure to keep books protected from dust, water, and light damage, as well as the general wear and tear of life on the shelf. Each participant in this workshop constructs a model clamshell box of a set size. Through observation and discussion, participants learn how to measure objects and cut materials for future custom boxes.

Emily Tipps's bio 

September

image of risograph printed book

Risograph Training

September 10
Session 1:Thursday, 4:30–6:00 am
Session 2:Thursday, 6:30–8:00 pm

$15

What is a RISO duplicator, and why is it suddenly all the rage? The RISO is a Japanese stencil duplicator that blends the functionality of photocopying with the artistry of screenprinting. In this training, participants learn the requisite skills and best practices for risograph printing by printing a previously designed project. After completing the training, participants are invited to apply for independent studio use here, and for a fee of $5/half hour, approved applicants are eligible to use the RISO for their own projects.


image of handmade books

The Naked Book
Chris McAfee

September 19
Saturday, 10:00 am–5:00 pm

$105
register

Turn a hardbound book into an artist’s canvas! Make a cover for a pre-sewn text block and finish it – not with cloth, paper, or leather – but with acrylic modeling paste. Then texture, scribe, and wax the covers to create a personal design. While spinning traditional techniques into innovative processes, investigate how bookbinding materials react to moisture and how to counteract related problems.
– – – – –
Christopher McAfee received a BFA in printmaking in 1993 from Brigham Young University where he began learning to bind books. In 1995, he went on to receive an MFA in bookbinding from the University of Alabama where he began learning book conservation. He has since worked for both Brigham Young University and the LDS Church History Department conserving and preserving books, documents, photos, etc. Christopher is currently the Senior Conservator for the Church History Department. As a conservator, Chris is concerned with books as artifacts, though many people think of books as mere containers for information. As a book artist, Chris makes books for which the container is part of the information ensuring their artifactual value.

October

image of edge painted business cards

Airbrush Training

October 24
Session 1: Saturday, 9:00–10:00 am 
Session 2: Saturday, 10:00–11:00 am
Session 3: Saturday, 11:00 am–12:00 pm 
Session 4: Saturday, 12:00–1:00 pm 

Interested in applying color to the edges of paper projects? This training session provides the foundational skills to add some flair to business cards, prints, or text blocks. At the time of registration, participants select a session to meet with the instructor and take the airbrush for a spin. Approved studio users have access to the airbrush after this training, and studio use requires a previous full-semester course with the program. The instructor also discusses DIY techniques that can be accomplished at home without special equipment.

December

image of type and print on press

Annual PRINTappreciation + Booking a Brouhaha Opening Reception

December 18
Friday, 3:00–7:00 pm

Free and open to the public—just drop by!

Join the Book Arts Program for a double celebration of our annual PRINTappreciation and the opening reception for the Booking a Brouhaha exhibition! In the gallery, check out the amazing work from students in academic book arts courses. In the studio, print from a variety of printing plates and type locked-up on the presses to produce a free letterpress printed card. Additional cards are three for $10. Enjoy light refreshments and shop for some hand-printed goods for gift-giving (or keeping). Proceeds help support the Book Arts Program.